Revolution is in the air and while still a dark show, Season 3 of The Handmaid’s Tale boasts a lot more hope than ever before. And this is for the best in a show that is certainly not the easiest watch, but rewarding in terms of acting and story. Be warned, spoilers may follow.

We pick up where Season 2 left off, with June(Elisabeth Moss) having given her newborn daughter to an escaping Emily( Alexis Bledel). She has decided to stay in Gilead to save her other daughter Hannah, who was cruelly taken from her years before. Plus, she’s still got an axe to grind with the horrifying regime that governs what was once America. She briefly returns to the house of slimy Commander Waterford( Joseph Fiennes)and his wife Serena Joy(Yvonne Strahovski), who was the one who handed the baby over to her in the hope that the baby will get a better life in Canada. Serena is starting to chafe at the system and in retaliation burns down her house, possibly setting the stage for her switch of allegiance. She’s in deep morning for her ‘child’ which could easily make her return to her normal cruel self though. June is sent to the home of Commander Lawrence(Bradley Whitford), who helped engineer Emily’s escape but whose true purpose and sense of trust are questionable. June however has her eyes set on rebellion and though some of her actions are questionable, she’s mainly playing the game in order to survive. She attempts to get Serena on side and persuade Fred to let her have a bit more power than women in Gilead have. But can either be trusted? Can Aunt Lydia( Ann Dowd) who begrudgingly seems to admire June’s opposition, be of any help? And can with an ongoing political struggle in sight can June ensure the safety of both her daughters? Plus, a visit from high powered and nasty Commander Winslow(Christopher Meloni) sets the scene for more shocks and horror as she exerts power and Fred craves it. June is somehow caught in the middle that leads to desperate circumstances. Meanwhile, Emily makes it to Canada with the baby and finds Luke( O. T. Fagbenle) and Moira( Samira Wiley), who offer support. Though things get difficult as Luke is having to raise another man’s child and still terrified about whether he’ll see his wife again. Emily is also struggling when she reunited with her wife and son as it’s been so long and they’ve been a part for what seems like eternity. This coincides with June becoming even more reckless and at times selfish, though she’s brought to her senses once more, thanks to Janine( Madeline Brewer) and the other Handmaid’s. This is where she really ramps up her campaign of striking back.

While continuing the story set up in the first two seasons, Season 3 of The Handmaid’s Take feels like something a bit different while still including the DNA that made the show connect with so many in this topical time. Some fans took issue with June’s last minute decision to stay in Gilead and not run to escape. While I can understand the gripes and though it was a surprise, on reflection it made a lot of sense. The thought of Hannah was what kept June going through her hellish ordeal of institutionalised rape and servitude that was punishable by death if not obeyed. I never believed June would just abandon her as she has been so key to the show and June’s voyage to rebellion. And the spirit of rebellion is shot through this season that still retains the starkness and darkness of what we’re used to, but embeds it with a feeling of underlying optimism that it has only hinted at in previous ventures. Don’t be fooled, this show still has its share of brutality, violence and horror and on those levels it delivers. I just couldn’t help but notice the building feeling of something good about to happen and action about to be taken. It’s a slow burner for certain but I like that about this season. It’s dialled back on some of the overriding gloom that perpetuated the first two seasons but not completely forgotten it. Everything is in the deliberate pace that convincingly lays the building bricks of revolution and how it’s going to occur from the inside. Some may find it slow going( there are some spots where a shot of quickness might have worked), but overall the burning feeling and realisation that revolution is nearing is impressively depicted.

The standout episodes are as follows. In ‘Unknown Caller’, the fallout begins when it’s discovered that Luke has Nichole and June is forced to identify her husband. We get June making an emotional phone call under duress to Luke, Serena seeing Nichole one last time and then falling prey to the manipulations of her husband and finally June’s glare to the camera when she realises she’s been stabbed in the back. It’s a rollercoaster of an episode that grips with how it unravels and the surprises of motivations and actions displayed. Following that is the topical ‘Household’ which deals with subjects of children’s rights, political agendas and the nature of possession. Secrets are also unearthed as June travels to Washington D.C.( which has been made over into a dictatorship) and discovers that lover Nick(Max Minghella) was not the man she thought he was and that he can’t help her in her hour of need . Plus, we are shown the horrifying extremes of Gilead as all the Handmaid’s are silenced by three piercings that keep their lips closed. It’s an often unexpected episode backed up by arresting cinematography, amazing set design that captures a world gone mad and excellent storytelling. Plus, in ‘Unfit’, we finally get some backstory on Aunt Lydia before the rise of Gilead. I’ve been waiting to discover the woman behind the brutality and it delivers. She was once a teacher who was dedicated to her young students and wanted the best. She befriended a young wayward woman whose son she taught and tried to help. After taking her advice and trying to seduce the principal, she was left mortified when he rejected her. I think her breaking point was the fact that in her mind she violated her religious beliefs and gave in to temptation. In retaliation and feeling embarrassed, Lydia phoned the social services on the young mother and the child was taken away.

A haunting hour is found in ‘Heroic’ which has June confined to a hospital as punishment for her treatment of a fellow Handmaid who now lies in a coma . The atmosphere is comparable with Kubrick in terms of how clinical and psychological everything looks and feels. It crucially brings June back to her usual self after she lost her way and became selfish and cruel. It’s an undoubtedly disturbing watch but one that starts the wheels of change again after she was at the point of near collapse. And the last few episodes are nothing short of exhilarating as plans are finally put into action and the tension rises. Though the first half of the season is the slow build, the last half is everything getting going and strike back beginning that will change everything. Pay particular attention to the finale ‘Mayday’ which is hands down one of the best episodes of the entire show. Though a show that is tough going, The Handmaid’s Take is gorgeously shot with dark hues but a more prominent brightness than before to reflect the burgeoning fire within June and the others who will help her. The trademark use of shallow focus especially when focusing on June and birds eye view shots of the Handmaid’s in ranks are stellar and cinematic in execution. Fine and often ironic song choices and a chillingly electronic score compliment the aura of eeriness and evinced hope.

Elisabeth Moss continues to excel as our main character. Those eyes and that face once more work miracles with the slightest of movements. She is a masterclass in emotion and revealing how June is both flawed(sometimes dangerously so and close to cracking) and driven by everything she’s experienced. It’s a layered performance that just keeps impressing upon every episode as we watch seething rage, hope, trepidation, questionable choices and bravery commingle . And it’s all down to the dedication with which Moss plays June that we are so enthralled by her presence. Yvonne Strahovski continues to vacillate between sympathetic victim and desperate yet icy madam. She straggles the two considerably and displays that Serena could both be an ally or an enemy to June and her mission. I liked seeing Strahovski expand on Serena and watching her both fight against and embrace Gilead. Complimenting her is the on form Joseph Fiennes who knows how to play a nasty piece of work. Commander Waterford is one of those characters who is completely up themselves so it’s nice to see him start squirming and becoming a little subservient to those higher than him. And watching Fiennes show the emotion of his power slipping away is more than a tad satisfying.

Anne Dowd is once more knocking it out the park as Aunt Lydia, who is explored with depth. The dichotomy of kindness and viciousness is sublimely acted and we never quite know which incarnation we will get. Kudos to Ann Dowd for her complex portrayal of someone following shocking orders and thinking they are doing the right thing in their own warped mind. In Canada, the series regulars are just as impressive, even if they are seen less than the Gilead counterparts. Standing out is Alexis Bledel as the now free Emily, whose adjusting t her new life with a mix of relief and trepidation. You feel immense sympathy for her as she’s now escaped but still has a certain cage in her mind from everything she’s been through. Bledel sells these varying feelings with sincerity and conviction. And although they aren’t as prominent as before, O. T. Fagbenle and Samira Wiley give personality and heart to survivors of the regime, building some form of normality for themselves. By far one of the most interesting characters is Commander Lawrence as he’s pretty inscrutable and Bradley Whitford is a masterful actor taking delight in exploring the contradictions of the part. One moment he’s helpful and rebellious, the next he’s shut off and cruel and that’s what is so fascinating as he could either be ally or enemy. Christopher Meloni brings considerable strength and sliminess as a high powered Commander. There’s something in the way he speaks and moves that immediately intimidating and nasty; Meloni is obviously enjoying being really able to explore a most vile character in detail. She’s been in the background and occasionally been popping into something substantial, but here Amanda Brugel is given more to do as the Martha Rita. Her quiet dignity and immense strength in playing the game that Gilead has started is admirable and I loved seeing her come into her own. Madeline Brewer is again impressive as the vulnerable Janine, who seems to be everyone’s punching bag of late but who still finds a way to muddle through the pain. The main person who isn’t given a lot to do is Max Minghella, who appears in the first half of the season and is then missing. We do learn something interesting about Nick as a character, but I’d like it if he’d been in it a bit more. This is a minor gripe though in a season that’s incredibly well acted.

A far more hopeful but still bruising and stark season that starts slow and builds to a powerful finish, Season 3 of The Handmaid’s Tale is extremely well acted and thought provoking viewing.

Expanding on from Margaret Atwood’s novel and opening up the universe created in Season 1, the second season of The Handmaid’s Tale provides immensely disturbing viewing for us. It’s gruelling but so hard to tear your eyes away from it. Caution, spoilers may well follow.

We pick up where Season 1 left off, with a pregnant Offred( Elisabeth Moss)being placed in a van and heading for an uncertain future. As it opens, she along with the other Handmaid’s who refused to stone one of their own, are taken to Fenway Park. They believe they will be hanged, but it’s a cruel act of manipulation by the powers that be. Thrown into gruelling torture by Aunt Lydia(Ann Dowd), it looks as if it’s more cruelty for all of them. More defiant than ever, Offred takes on the regime with attitude and stays it out in the hope that help will appear. Eventually, Offred is spared as Aunt Lydia discovers she is with child and exempt from punishment. With help from Nick( Max Minghella) , who is the father of her child, and the resistance, she manages to escape from her captivity. Shedding her Handmaid’s life and proclaiming herself as June, she has to contend with knowing that in order to properly escape she may have to leave the daughter she had taken from her.

June may attempt escape to the border, but it’s short lived and she is forced back into becoming the Handmaid Offred. Nick tries to help her but is sidelined by being “gifted” a wife named Eden(Sydney Sweeney). She’s a pious girl and seemingly a true believer for what Gilead stands for, but also sets up events in a tragic way. There Serena Joy(Yvonne Strahovski) is starting to scoff ever so slightly at the regime herself, but is very unpredictable in her attitudes towards Offred/June. Commander Fred( Joseph Fiennes) is his usual hypocritical self and putting on his show of self-righteousness for all to see. Meanwhile, Emily( Alexis Bledel), formerly Ofglen is in The Colonies for her disobedience. Here she must work day and night among contaminating waste with death always a shadow over her shoulder. She is joined by disturbed Janine(Madeline Brewer), who doesn’t quite understand the situation at hand after everything that’s been done to her. We also catch up with June’s husband Luke(O.T. Fagbenle) and best friend Moira(Samira Wiley), who escaped to Canada and are grappling with their own demons and survivor’s guilt. June may be broken along the way, but her desire to fight comes back gradually as she is once more asked to contend with surviving the regime and. Things take many turns as she approaches her due date.

The first season covered the novel, so with this sophomore effort, the producers and writers are going beyond the source material in different ways. And they pay off very well, though I’m sure many where unsure of whether it would pan out successfully. Certain parts from the novel that were absent from the debut season are present, but Season 2 is largely its own beast that takes the story in different directions. Thematically, Season 2 delves into guilt and the price of rebellion. June must contend with her actions having consequences on others and the devastation that fighting for what is just can bring. Duality features heavily, most prominently with June/Offred and the constant struggle of the two. It’s like a constant battle of which side will win out as the regime digs its claws into her and forces her to make a choice. Once more, the visuals are strongly composed and extremely evocative. Particularly striking are the oranges and burnt golds of The Colonies; a barren landscape almost in a permanent dusk where those who oppose Gilead are enslaved and made to work among toxic waste. It’s so cinematic and disturbing. Plus the ever-increasing close-ups provide the uncomfortable ferocity and horror of Gilead and how much of a toll it takes on the characters. Flashbacks detail the rise of Gilead and expand on the characters as they reflect on life before the takeover. June’s voice over may be limited a bit more this season, but whenever it’s there, it sure as hell does the job at capturing her inner feelings.

Just like the debut season, this second season is chock full of shocking moments. There are plenty that truly stick with you for their brutality, disturbing nature and power. The mock execution scene where the Handmaid’s are rounded up like cattle, have their mouths covered with muzzles and have nooses placed around their necks in what they believe to be their last moments is a stark and traumatising opening. Set to the sound of Kate Bush’s ‘This Woman’s Work’, it’s hard not to hold your breath. A ceremony where the Guardians of Gilead are awarded with wives who are a lot younger and basically children is chilling and totally horrifying. One of the biggest moments of sadness and emotion is June being reunited with her daughter briefly, before she is ripped from her arms once more. It’s a gut punch to the system. And in another shocking moment, never have the repeated words “We’ve been sent good weather” been so devastating and alarmingly creepy. If anything, Season 2 ups the ante on violence and suffering. Many have criticised the increase in violence but I think The Handmaid’s Tale isn’t doing it for exploitation value, but for a cutting and harsh impact on the viewer. It’s an undoubtedly tough series to endure but it’s ultimately worth it.

Yet for all the hurt and anguish heaped upon us, hope is mixed in there in doses. The last shot hints at searing determination and immense changes to come for the characters and story. And boy did I dig it, though it will definitely divide many. My only little gripes are that some of the latter stages feel a tad rushed in the scheme of things and some things don’t go anywhere. But this is a tiny flaw in what is otherwise an arresting and disturbing series.

Elisabeth Moss is once more on powerful form; bringing out the sadness, rebellion, grief, guilt and survivor of June/Offred. The character is very much in two halves here and the strong Moss plays both of them wonderfully and with skill. There’s the fighter side of June that scoffs and will do anything to escape and then there’s Offred, the subservient vessel. Again Moss and her eyes are marvels at telegraphing varying emotions almost simultaneously. Yvonne Strahovski also continues to excellently convey the complex Serena Joy, who is by turns despicable bitch and perturbed woman realising her role in her own unhappiness. It’s a balancing act that she walks exquisitely. A slithering nastiness covers Joseph Fiennes and his interpretation of Commander Fred, who is not above abusing his power for his own benefit and spouts lies at every turn. He really becomes very vile and hateful this season and Fiennes is very adept at playing to that. Ann Dowd is once again a big standout, essaying the part of Aunt Lydia. While still brutal and very vicious, the chinks of humanity begin to come through and you see that she does have a care for the Handmaid’s, even if her treatment of them is abhorrent. Dowd is just so endlessly watchable in the role. Max Minghella is quietly conflicted as Nick, who must contend with his love for June and staying alive in the heat of the regime.

Alexis Bledel is seen a lot more than last season and capitalises on it with a stunning performance. Those blue eyes of hers are deployed in forms of rage, resistance and tragedy as we see the impact Gilead has had on her mind. She’s still a fighter at the end of the day and Bledel plays to that strength spectacularly. Madeline Brewer also returns as the haunted Janine; her wild eyes and strange mannerisms are all in order and successful. One of the season’s best weapons is the appearance of the youthful Sydney Sweeney. She plays the seemingly pious and brainwashed wife of Nick, whose naivety and sincerity is worrying but sets in motion different and irrevocable things. Sweeney is fascinating to watch as she registers that there is more to Eden than meets the eye. Although their capacities are reduced this season, both O.T. Fagbenle and Samira Wiley give great account of survivors guilt and the process of change. I just wished I saw a bit more of them. In cameo parts, Marisa Tomei as a punished Wife, John Carroll Lynch as a man persecuted for his sexuality and Cherry Jones as June’s fighting mother make their impacts felt. I must say the entire cast where at the top of their game here.

A searing, brutal and memorable series, the second season of The Handmaid’s Tale is alarmingly addictive even when it’s unsettling the hell out of you. You just want to know what happens next in the twisted world it so strikingly presents to us.

A hauntingly engrossing, evocative and vivid rendering of Margaret Atwood’s dystopian novel, The Handmaid’s Tale is compulsive television that presents many terrifying possibilities and ideas that will leave you glued to the screen but shaken. Be warned, spoilers may follow in my review of this season. Plus, I’ve just read that the show has been renewed for a second season which should be interesting.

In a future version of what was North America, the Republic of Gilead has come into power through unjust and harsh means. It rules with totalitarian authority and oppresses all, particularly women. They are divided into various ranks and treated as second class citizens by a male dominated world that uses religion to justify its regime. It is seen as a return to ‘traditional values’ by those in power, but is upheld by extreme brutality. Over the years, birth rates have plummeted and only a handful of women can bear children. Offred(Elisabeth Moss) is a Handmaid who represents the main character. She had a different name and a life before the rise of Gilead, but it is forbidden to talk about it now. She also had a husband named Luke(O.T. Fagbenle) and daughter, who we see was snatched away when they attempted to escape Gilead for the border. We hear her thoughts as she leads us through her terrifying circumstances. The main job of a Handmaid is to provide offspring for the household they are assigned too, as a sexual slave to a high-ranking official known as a Commander. The ceremony is a forceful one in which the women have no choice and are basically victims of institutionalized rape. Earlier, the handmaids are conditioned and brutalised by The Aunts, a group of women who drill into them the horrifying duty they must perform and use violence if disobeyed. Offred is stationed at house of Commander Fred Waterford(Joseph Fiennes). His wife Serena Joy(Yvonne Strahovski) , who was one of the instrumental figures in crafting Gilead, is desperate for a child and often acts in a cold manner to Offred due to her being barren. Navigating her way through this horrible existence, Offred slowly chafes at it and with the memories of her daughter and husband still with her, stiffens her backbone. For she intends to survive the hellish universe and with help from other handmaid’s who are part of a form of resistance, she may just do it. But in this tormented and oppressive world, can anyone truly escape?

Right off the bat, The Handmaid’s Tale is loaded thematic meat and backbone in the most eye-opening way. What definitely strokes the hardest is that the events depicted don’t seem that far removed from genuine reality and can be read as highly topical too. We live in a time where the future could go either way in terms of attitudes and God knows what else, so The Handmaid’s Tale functions as something of a wake up call to many. Themes of female subjugation, physical, sexual and emotional abuse along with rebellion, dictatorship and corrupt power flow like a river in this horrifying but compulsive series. Having Offred be the guiding force of the narrative, particularly her narration, is a well employed tool for framing the show. Often, her voice is at odds with her actions due to the way that the society has forced her into submission. But crucially it places us right into her mindset and how the world is seen through her eyes. We are privy to important information that moves the story along and allows us to be witness to her growing strength and rebellion.

On the visual side, shallow focus is supremely well employed in capturing the conflict of the world and just how much it takes a toll on the much abused women. Offred is the main window into events and intense close-ups that frame her are some of the most piercing moments in this disturbing tale. Bright lighting for exterior shots is one example of a pointed irony that permeates from the series throughout. The blinding sunlight is very much the opposite of what life is like for Offred and her fellow handmaid’s and that juxtaposition is palpably terrifying and cloistered. When inside, only a shaft of light creeps into the spaces which benefits the growing hope inside Offred as well as the dire situation at hand. In fact, irony is one of the shows greatest assets as it horrifies and disturbs with how the world has fallen. From the Handmaid’s being coerced into beating a man supposedly guilty of rape to death and a ceremony of sham for visiting dignitaries, the unfairness and hypocrisy of Gilead knows just how to unnerve the audience and shock with deep intent. The low murmuring of the sinister score echoes throughout the episodes, with a definite haunting quality that is both futuristic and spooky.

Leading the cast is the exceptional Elisabeth Moss as Offred. A mixture of desperation and steely gumption colours the work, with Moss hitting the notes and beats excellently in conveying the situation of a woman trying to persevere in a world of horror. so much is displayed through her eyes- fear, determination, pathos and defiance largely due to the fact that her character is trying to survive a regime that keeps everyone oppressed and silent. Elisabeth Moss has a gift for subtlety that is nonetheless expressive and nuanced, a string in her well armed bow that strikes to the heart of Offred and explores her beautifully. It’s a remarkable piece of acting that highlights just how talented an actress Moss is as she charts a gathering storm of feeling Offred goes through. Joseph Fiennes finds a deep ambiguity in the Commander, who is one of those responsible for the rise of Gilead. He manages to be both creepy and strangely charismatic, you never quite know what to make of him as he is a layered character. Yvonne Strahovski is cruel, cold and ever so desperate behind it all as the melancholy wife of the Commander. Chinks of humanity lie behind her nasty facade of devout righteousness as she knows that she is essentially a prisoner of what she wanted, but she’s best when being vindictive and callous.

Alexis Bledel is another fine addition to the series, essaying a tragedy and alternating will. Playing a seemingly pious Handmaid who is in fact a member of resistance against government, Bledel, much like Moss and her eyes, uses her orbs to enact her varying emotions to amazing degrees. I ask anyone to not feel intense feeling when she is put through the wringer of sadness and possible hope as Bledel is so good at making a very lasting impression. Madeleine Brewer, with alarming and childlike mannerisms, gets to the core of her part, who has been ground into near madness by conditioning and trauma. She has some of the most eventful moments in the series and delivers the goods. On scene-stealing form is Ann Dowd, who makes the absolute most of her time on screen. Starring as one of the Aunts, she is severe, abusive and authoritative. But Dowd goes beyond just the temptation to make her a simple villain by unearthing that she too is somewhat brainwashed by the cause and seriously believes she is doing God’s will. Samira Wiley, with her strong face and intense demeanor, compliments Moss when she appears largely in flashback as her best friend. Her sense of attitude and sarcasm are a welcome relief in a series that is largely dark. Max Minghella is another ambiguous presence, portraying the driver to the Commander who may or may not have bad intentions. He is most explored through his tenuous relationship with Offred, that shows that he’s got some good in him yet we still don’t know whether he is trustworthy or not. O.T. Fagbenle rounds out the cast as the husband of Offred, who appears for a big chunk in flashback. He is a welcome reminder that there was once goodness within man before Gilead totally took over.

A truly disturbing yet completely compelling series that benefits from its execution, visuals and acting, The Handmaid’s Tale truly stays with you for a long time after viewing it.

The early years of Elizabeth I’s reign are given a splendid retelling by talented director Shekhar Kapur. Avoiding conventions of historical dramas, he gives the tale a dark and brutal edge as we watch the young queen fight off conspiracy and become a strong monarch. Boasting a superb performance by Cate Blanchett, Elizabeth is nothing short of enthralling from beginning to end.

In 1558, the catholic Mary I is dying of a cancerous tumour. Childless, the next in line to the throne is her half-sister Elizabeth, who is a protestant. It is a time of unrest as the seesaw of religion swings back and forth precariously. When Mary dies, Elizabeth becomes queen. The young girl is spirited and often naive and the position she has inherited is not exactly ideal. She is pressured to marry as soon as possible and produce an heir. Elizabeth though is more interested in her love affair with the dashing Robert Dudley. Meanwhile, England is threatened from abroad by Mary of Guise, who has gathered troops in Scotland. As well as the threat from abroad, there is conspiracy within her court as various members plot ways to dethrone her, the most prominent being the Duke of Norfolk who considers her a heretic. The thorny issue of religion also rears its head and threatens to destroy her reign as violence and chaos erupts. Realising the threats that surround her and aided by loyal but calculating Francis Walsingham, Elizabeth nimbly begins to transform from romantic young woman to ruthless and wilful queen in order to rule over this time of uncertainty and become the iconic Virgin Queen that the world knows. Politics, romance and bloodshed all combine in this splendid biopic that breathes fresh life into the story and gives it a riveting makeover.

While many historical biopics paint a quaint picture of monarchy, Elizabeth delivers another side. The court of Elizabeth is a place of political intrigue and dark deeds, where views are divided by beliefs and violence is often around the corner. From the start, Elizabeth is in danger and must face the plots that threaten to engulf her. Shekhar Kapur magnificently captures the conspiracy and unrest of the time with his use of colour and camerawork, with dark red symbolising both passion and blood and a roaming camera that stalks the eerie palace and gives it a sepulchral tone. Interestingly, Kapur seems to take an influence from the most unlikely source, The Godfather. The similarities can be seen with the main characters in each, that must after reluctance change themselves and sacrifice personal attachments to become a feared ruler in order to survive and uphold dynastic order. Also, the lush cinematography that accompanies many scenes of assassinations does resemble some of the bloodshed of The Godfather. The musical score is suitably filled with royal splendor and underlying menace, while the sumptuous costume design is breathtaking. Historians may balk at some of the more fanciful elements of Elizabeth, but a few liberties here and there gives the film an exciting edge.

In the leading role of Elizabeth, Cate Blanchett is a revelation. Her expressive face displays the journey she goes on and the strength that she uses to become a ruthless and powerful leader, capable of making difficult decisions. Filling the role with passion, emotion and vigour, Blanchett is a marvel. Ably supporting her is Geoffrey Rush as her advisor Francis Walsingham, who will do anything to protect her, including murder. Joseph Fiennes makes for a suitably handsome romantic interest, while Richard Attenborough is great as an elderly counsellor who attempts to guide the young girl. The other roles are competently portrayed by Christopher Eccleston, who exudes menace and anger as the conspiring Duke, Fanny Ardant as the ambitious Mary of Guise and John Gielgud as the Pope.

Not one for the purists, Elizabeth still succeeds thanks to visually stunning direction, a powerful lead performance and a tense atmosphere that gives history new life.

The second installment of American Horror Story comes courtesy of Asylum. With the twisted success of Murder House and the returning of many of the cast, Asylum promises to be scarier and more disturbing. Revolving around the events of a mental institution in 1964 and the attitudes towards mental health at that time( as well as murder, deceit, religion and possession), Asylum is on taboo breaking form from the get go and unravels with fiendish delight and a whole lot of twisted horror to match. Be warned, spoilers will follow in my review.

Briarcliff Manor is a mental asylum in 1964 Massachusetts to house the criminally insane. It is run by the ambitious Monsignor Timothy Howard(Joseph Fiennes) and is maintained by the vicious Sister Jude(Jessica Lange) and childlike novice Sister Mary Eunice(Lily Rabe). The sinister Dr. Arthur Arden(James Cromwell) treats the patients but is secretly conducting illegal experiments on many of them for his twisted medical research. Into this disturbing atmosphere comes Lana Winters(Sarah Paulson), a secretly lesbian journalist is trying to find a scoop on the place and expose the cruel procedures that the patients endure at the hands of the staff. Also, a young man by the name of Kit Walker(Evan Peters) has been admitted to the facility after he is accused of butchering his wife and many other women. He is suspected of being the renowned killer Bloody Face, although Kit protests his innocence and says that a strange life form has kidnapped his wife and how she is still alive. Lana gets more than she bargained for when she trespasses into the secrets of the asylum and the cunning Sister Jude craftily has her admitted as a patient at the brutal asylum. Traumatized and brutalised, Lana has her world turned upside down as she realises the power that Sister Jude and Dr Arden possess. Other patients in the facility include the mysterious Grace Bertrand(Lizzie Brocheré), a young girl accused of murdering her family and Shelley(Chloë Sevigny), a troubled nymphomaniac who often tries to tempt the evil Dr Arden. Lana has to adjust to her surroundings and attempt to escape the asylum before it is too late, with the at first reluctant help of Kit and Grace. Elsewhere, strange creatures lurk in the woods out of sight but always hungry. Dr. Oliver Thredson(Zachary Quinto), a new psychiatrist arrives and begins to question the gruesome treatment of patients. A young boy is possessed and after an intense exorcism, the demon inside of him transfers itself into Sister Mary Eunice. This causes her personality to alter drastically as she transforms from timid girl to sly and manipulative woman. We get flashes to the present where a morbid couple visit the rundown Asylum and get much more than they had intended to in grisly fashion. There’s even an appearance from the Angel of Death(Frances Conroy) who appears to those who want to die and bestows them with a death kiss. And to top that off, each of the main characters has deep dark secrets that begin to slither out into the light.

The most prominent aspect of inducing terror is the setting, full of long, unending corridors and laboratories for sickening experiments. The visual style of harsh contrasts between light and dark, as well as jittery cuts, builds up tension and establishes this season as a creepy force of nature that won’t let go. The house in the first season may have been terrifying, but in Asylum they up the ante in terms of creepy environments.The disturbing title sequence will no doubt send shivers down the spine with its mix of gruesome experiments, stormy weather and ambiguous religious icons to the strains of the eerie theme song. Asylum exploits the deep fear of being locked away and not being believed with Lana as the embodiment of the audience’s concern. The 60’s setting allows Asylum to delve into taboos and social issues of the time, such as lesbianism, abuse of power and prejudice. It may be just a show, but Asylum does show in sometimes graphic detail how misunderstood and intolerant people were about mental health back then and how far we have come today. Religion and hypocrisy surrounding it comes under the spotlight in even more uncomfortable terms as the clash between faith and passion arises within the many members of staff as events spiral out of control .Once again American Horror Story isn’t afraid to push boundaries and make for disturbing viewing. It is almost certain that you won’t be sleeping soundly after viewing Asylum.

With members of the first season cast returning as well as newcomers, Asylum more than delivers on the acting front and adds another jolt of terror into an already scary brew of chills and carnage. Sarah Paulson makes for a relatable central heroine in Lana, with her melding of brutalised fear and burgeoning strength, as her yearning for escape increases and she tries anything to free herself from confinement. Jessica Lange once again steals the show, this time as the cruel and vicious Sister Jude. Yet rather than make her a one-dimensional monster, Lange fleshes out the character to show her vulnerability and regret for her past actions. Initially a boozy lounge singer, she became a nun after her involvement in a hit and run accident. Through her vows, she tries to atone for her crimes but realises she can’t run from her past forever. Lange runs the gamut of emotions from A to Z and delivers very impressive work. Lily Rabe comes a close second with her bewitching and challenging role as the novice Sister Mary Eunice. At first she is a sweet-faced and caring girl who wants to impress Sister Jude, but after her possession she morphs into something very different as her innocence is poisoned with the taint of evil. A sly, sexually provocative and twisted woman, she now delights in tormenting those around her as she slips out of her innocent nun’s habit and into the personification of the Devil. Rabe carefully shows this transformation with subtle assurance that is very unsettling to watch. Evan Peters is fearful and confused as the accused Kit, whose story of abduction starts to play a big part as the season goes on. James Cromwell is evil personified as the sinister and imposing Dr. Arden, whose experiments get out of control as his mental state crumbles and his treacherous past comes back to bite him. Joseph Fiennes makes for a self-righteous and beatific presence as the Monsignor in over his head, while Zachary Quinto subtly contributes care yet a bristling menace to his role as the new psychiatrist. Lizzie Brocheré and Chloë Sevigny are also effective as two of the inmates at the asylum;Brocheré adding mystery and whispery uncertainty and Sevigny with her mix of sexuality and fear. Frances Conroy is impressively ethereal and wise as the Angel of Death, who makes many appearances towards the end of the season.

Unpredictable and filled with many twists along the way, Asylum is a provocative and terrifying entry into the American Horror Story canon.